Having returned last night from the annual Paris design fairs Maison & Objet and Déco Off, I am struck by how many traditional styles—moiré, strié, ombré, épingle (and not to mention l’accent aigu)—dominated the collection debuts. These were most notable, of course, in fabric collections, but some of these trends reverberated through multiple categories to rich and resplendent effect.

Marie Daage offered a departure from her usual figurative designs to saturated ombré porcelain specked in gold (all hand-painted in Limoges, France, of course), and Muriel Grateau released some Pollack-reminiscent swirls of paint on her Minimalist-matte plates and bowls. Delft blue was widely employed by smaller artisans to larger manufacturers alike, and sherbert-hued glassware from Michael Ruh, Art

Having returned last night from the annual Paris design fairs Maison & Objet and D

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Having returned last night from the annual Paris design fairs Maison & Objet and Déco Off, I am struck by how many traditional styles—moiré, strié, ombré, épingle (and not to mention l’accent aigu)—dominated the collection debuts. These were most notable, of course, in fabric collections, but some of these trends reverberated through multiple categories to rich and resplendent effect.

Marie Daage offered a departure from her usual figurative designs to saturated ombré porcelain specked in gold (all hand-painted in Limoges, France, of course), and Muriel Grateau released some Pollack-reminiscent swirls of paint on her Minimalist-matte plates and bowls. Delft blue was widely employed by smaller artisans to larger manufacturers alike, and sherbert-hued glassware from Michael Ruh, Art